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POETRY
207
Many of Roy's poems, like 'Mind's Folly, 'Sri Aurobindo', are written in these two measures. As a rule, the lines composing the quartrain may be of varying length. A few of his poems are written in quantitative metres, for example,
Invocation to Ganesha'. The use of these metres has added to the rhythm of his lyrics, and, as a result, to music that they create.
Even he chooses such words and images which are related to music. He has predilection for some images like flute and minstrel. The frequent use of alliteration adds to the music of his poetry. The use of certain sounds like /h/and /s/, which are often used in music recurs here. His symbols are related to spirituality. His favourite symbols are 'ray' (which stands for enlightenment), 'dusk', (which means gloominess caused by ignorance), 'blue' (which suggests heaven or kingdom of God), 'clouds' (which stand for ignorance and also obstacles which are faced by the aspirant on the path of spirituality), 'dream' (which suggests aspiration). The use of figures of speech like apostrophe, simile and metaphor adds to the charm of his poetry. In 'Radharani Goddess of Grace' there is an example of an apostrophe and simile both: “O marvellous Moon of tenderness!
O star-poise indefinable ! O Miracle who com'st to bless,
Like mountain-whiffs in an exile's cell !" !5 Here is an example of a striking metaphor:
“Earth is the cradle of the gods
the heroic spirits' battleground."16 His epithets are compound epithets like half-lit consciousness, fire-thrilled melody, science-fostered strife, dark-enarmoured moods etc.
Most of his poems are related to Indian life and ethos. He wrote his poems, mystical novels and also dramas in English with a view to introducing rich heritage of Indian tradition to the readers of the West. He succeeded a great deal in doing so and his works were translated into many foreign languages like German, French, Spanish, Portuguese etc. He was declared "ONE OF A HUNDRED WORLD CELEBRITIES” by the Mexican journal, EL NORTE in October, 1948.17 So, Dilip Roy, by remaining true to his roots, gained universality of appeal in his works.
K. R. Srmivasa Iyengar appreciates the beauty of Roy's poetry:
“Dilip is neither a Romantic aping Victorian models nor a modernist addicted to imagism, ventriloquism and personal symbolism. His is the poetry of the soul--of the vicissitudes of the soul's commerce with the Divine. Dilip has no use for
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